After a moment of brightness a memory unit containing 59.049 images is explored from the totality to it’s individual images, creating connections on various levels in various directions in a shifting dynamic system.
Beginning with a sudden and rough recall of memories the information merges with increasing compression in several cycles and repetitive feedback to transform in an almost ad infinitum expanding time space topology of intense subtlety.
The visual composition is inverted and disrupted several times by visual blanks of bright white. The original images were taken handheld in 2002/3 when the experience of 9/11 still was very present. The composition is made frame by frame using “contact sheets” (6,5 fps). The integration of the outdated format SD in the more contemporary HD leaves empty space in the memory levels and in the processing levels.
The memory unit used in this video is the second out of nine units which will become one total memory at a later stage covering 30 years from 1985 to 2015 .
The music composed by Michael Bonaventure (organ sounds)and René Baptist Huysmans (electronic sounds) is inspired by the poem “The Comet At Yalbury” by Thomas Hardy

Born in Mainz, Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures taken from 1985 regarding important moments of modern history as to major and minor personal events.

Mauricio freyre SET OUT 1

Fiction | 16mm | couleur | 2:14 | Espagne | 2015

When does the fiction of a film start? Where do characters go when the movie is over? A story made of fragments and discarded footage from a film shooting. The camera examines the landscape of the mise-en-scène, looking for meaning in the elements that make up the picture.

Mauricio Freyre is an artist and filmmaker, graduated from Architecture and Fine Arts, based in Madrid. He uses the film medium to explore structures and systems of thought behind the constructed and projected. His projects and films have been exhibited at Haus der Kulturen der Welt (Berlin), Fundación Telefonica (Lima), TENT Museum (Rotterdam), W139 (Amsterdam), Nederlands Film Festival (Utrecht), FIC (Valdivia), Sunset Cinema (Luxemburg), Filmmuseum (Amsterdam), etc. He is currently a visiting teacher at The Berlage (Delft), KABK Royal Academie of Art (The Hague) and ETSAM Universidad Politécnica (Madrid).

Ivan salatic Dvorista

Fiction expérimentale | 4k | couleur | 20:59 | Montenegro | 2015

In the backyards there are sheds, a huge old tree, wild plants with wild offspring, waste scattered around. This is where they spend their time. A decaying building is about to be destroyed and someone may go beyond. Soon one of them becomes aware of the sea.

Ivan Salatic was born in 1982 in Dubrovnik and grew up in Herceg Novi. He finished the School of Fine and Applied Arts in Belgrade and graduated from the Faculty of Dramatic Arts in Cetinje. He has directed several short films that have participated in festivals such as Venice Film Festival, Sarajevo Film Festival, Torino Film Festival.

NARRATION links issues of social relevance, such as the systematic exploitation of workers on arab building sites, with questions of awareness and the perception of (constructed) narratives in our everyday lives. Different languages and associated concepts – such as imagination and seeing – are interleaved into a well arranged field of associations. In Taube`s work the "flow of images" becomes a symbol for the flux of visual concepts and the impossibility of them ever coming to a halt. The impact of the film is also due to the performance of its protagonists, who, at times far from playing a role, represent and reflect their own actions: the actor comes to represent the narrator on a stage.

Thomas Taube is a German video artist who is living and working in Leipzig. He studied from 2008 to 2014 at the Academy of Visual Arts (HGB) Leipzig and graduated from Prof. Clemens von Wedemeyer class with an honourable distinction. He is currently a „Meisterschüler“ of Clemens von Wedemeyer. From June until December 2016 Taube was resident at the ISCP in New York. The residency was sponsored by the Cultural Foundation of the Free state Saxony (KDFS). His video works are concept-based films which question obvious and seemingly self-evident circumstances of our daily lives.

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Thomas Mohr explores part of his memory, comprising 59,049 personal photographs, ranging from a totality to individual moments. An expanding time and space creating numerous connections. Mauricio Freyre reflects on cinematic mechanisms as creative and representational processes, and examines the landscape of the mise-en-scène. Ivan Salatic films teenagers in a garden, surrounded by wild plants. They appear to be suspended, just like their surroundings. Suddenly, they become aware of the proximity of the sea. Jules Lagrange reveals the story of a human being who has become a mere witness to his own nostalgia. It is the story of a funeral ritual seen through the blurry eyes of a cyborg. Temporality and the exact context of this past event are unfathomable. They have been replaced by a dense and disparate memory. Thomas Taube reflects upon the elements necessary to develop a story. He associates different narratives and temporalities, related to questions of conscience and perception, simultaneously reflecting upon the creation of fiction and working upon events in our memory so that they become recollections.

In Breu (Pitch black), the recorded images present, in a non-linear montage, the semi-artisanal paving process of a rectangle arbitrarily drawn in the middle of a vacant lawn. The soundtrack brings a circular text that overflows in modal adverbial adjuncts (mainly right and wrong),without defining any clear object, the text builds the speech in an endless cycle, onto which the ideas of progress and evolution cannot be applied.

JULIA KATER | 1980 – Paris, França
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Lives and works in Sao Paulo, Brazil. Graduated in Photography from the School of Advertising and Marketing - ESPM (Sao Paulo - Brazil).
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The research of the artist Julia Kater is guided in the elaboration of a body of work that can treat it from its visual improbability. Whether by the collage brought about by different overlaid photographic prints, which announces a watchful sky – despite its invisible character – or by videos that bring about the rearrangement of a set of actions and phrases, each work in its own way prioritizes the elaboration of bodies from everyday scenes that suggest simultaneous shared experiences with the persistent memory together with its struggle with forgetfulness, its ally and the cause of the gradual loss of a large part of the truths.
Kater regularly participates in exhibitions in Brazil and abroad, in countries like France, USA, Belgium and Portugal.
Her most recent exhibitions are: Abstratión, Galeria Fernando Pradilla (Madrid, Spain - 2016); No lugar que chegamos, MAC Jataí (Goiás, Brazil - 2016); Breu, SESI MINAS (Belo Horizonte, Brazil - 2016); Da banalidade - volume 1, Instituto Tomie Ohtake (Sao Paulo, Brazil - 2016); I Biennial of Asuncion (Asuncion, Paraguay - 2015); Simultânea: Fotógrafos latino- americanos da coleção Carpe Diem, Centro de Arte Carpe Diem (Lisbon, Portugal - 2015); Como Se Fosse, CAIXA Cultural (Brasília, Brazil – 2014); e Frestas - Trienal de Artes, Curated by Josué Mattos, Sesc Sorocaba (Sorocaba, Brazil – 2014); SIM Galeria (Curitiba, Brazil - 2014).
He has works on very importante collections, like: MAR – Museu de Arte do Rio, Rio de Janeiro, Brazil; MON – Museu Oscar Niemeyer, Curitiba, Brazil; MARP – Museu de Arte de Ribeirão Preto, Brazil; Fundacíon Luis Seoane, La Corunha, Spain; Fundação PLMJ, Lisbon, Portugal.

Ra di martino Authentic News of Invisible Things

Vidéo | hdv | couleur et n&b | 5:30 | Italie | 2014

Authentic News of Invisible Things explores mechanisms of pretence and make-believe by focusing on military camouflage. Camouflage was first used at the end of the nineteenth century to help prevent armies from being detected by enemy forces. Colours and materials are used to conceal uniforms, vehicles and equipment and make them look like something else. Camouflage also extends to the construction of mock military equipment to confuse and deceive the enemy, generating a situation of alert.
Examples of this include dummy tanks constructed using wooden structures or panels of chipboard, and then painted or decorated. Used already in the Second World War and to a lesser extent in WWI, these are still widespread: in the 1990s fibreglass models produced by an Italian company were successfully deployed in the Gulf War.
Iveco Defence Vehicle (Iveco DV), part of the Fiat Group, headquartered in Bolzano, makes vehicles for military and civil defence purposes. The company receives orders directly from the Ministry of Defence to produce these vehicles and the production process and all related information is therefore covered by the Official Secrets Act. However once these vehicles are decommissioned they are no longer regarded as classified and can be used by the film industry, for marketing, entertainment and by private individuals. Indeed there are numerous collectors and theme parks in possession of working vehicles, also from foreign armies, that can be hired or tried out to get a taste of military life. It is therefore easy for the film industry to get hold of functioning, but unarmed vehicles, for use in battle scenes. The situation is therefore paradoxically subverted: real tanks enter the world of make-believe, while mock-ups are deployed in real-life conflict situations.
Authentic News of Invisible Things sits on the dividing line between fact and fiction, with documentary-style scenes and a theatrical re-enactment. With the support of historic photographs and film footage from public and private collections, the video becomes a sort of short journey through the paradoxes of both history and contemporary life.
One of the two key scenes of the video, which mingles performance art and cinema, has been shot in the historic city centre of Bolzano. A real-life, working tank drives through the city centre in broad daylight, with no prior warning to stage a paradox. Various cameramen hidden among the public filmed the action and people`s reactions.
The other scene is a recreation of an archive photograph of a group of French civilians gathered around a wooden dummy tank made by the Germans and abandoned in Lille, the 20th of October 1918.

Rä di Martino (Rome, 1975) studied in London where she’s graduated with an MFA at the Slade School of Art and after spending a few years in New York she moved back to Italy. Her practice explores the passage of time, as well as the discrepancies that differentiate epic narratives from lived experiences. Her films have been shown at the Venice film Festival, Locarno film festival and Torino International Film Festivals amongst other and in Istitutions and museums such as: Moma-PS1, NY; Tate Modern, London; MCA Chicago; Museion, Bozen; Palazzo Grassi, Venice; Artists Space, New York. In 2014/15 she has participated to the Venice Film festival 2014, winning the SIAE award and Gillo Pontecorvo award, and a Nastro d’argento for best docufilm.

Bettina nÜrnberg, Dirk Peuker Franzosensand

Documentaire | hdv | couleur | 8:30 | Allemagne | 2016

The film `Franzosensand` centers on agricultural settlements founded by the
German National Socialitst on newly built dikes on the mudflat of the Wadden Sea (North Sea).
Of the settlements, the so-called „Adolf-Hitler-Koog“, was meant to be a prototype for a national socialist community.Today, the bleak and tidy landscape does not offer much
testimony to its history. Excerpts of archived materials that are interwoven with present-day images make the present appear as a surface built on complex, deeper layers of the past.

Bettina Nürnberg
www.bettinanuernberg.de
Bettina NÜRNBERG (1976, Germany) was educated in art and film in Hamburg, Berlin and Toulouse. The
work of the Berlin-based artist has been screened and exhibited worldwide. She founded the internet
platform vestibuel-film.
Dirk Peuker
www.dirkpeuker.de
Dirk PEUKER (1970, Germany) studied film and art in Berlin and Vienna. The work of the experimental
filmmaker and artist has been screened and exhibited worldwide.

Maya schweizer Texture of Oblivion

Doc. expérimental | hdv | couleur et n&b | 18:0 | Pologne | 2016

The film begins with footage of a city of ruins, when the entire cityscape of Warsaw is covered with stones.
It is 1945.
Themed around stones as carriers of historical memory, the movie is so closely filmed that the viewer can never see the city`s memorials in their entirety.
Special attention, though, is paid to the author of the Umschlagplatz Wall, a monument located in the former Ghetto.
Hanna Szmalenberg is explaining the process of realization of the Umschlagplatz as the camera winds through a snow-covered sculpture garden.

An easily overlooked T-junction in Copenhagen`s Sydhavn district
is the location of a dramatic statue. In the midst of everyday
urban space rises a bronze sculpture of a young man who is about to tame two unruly horses. The essay film ‘Breaker of Horses’ delves into the bronze sculpture and follows the hidden stories that are contained in the cast. This leads us back to the
genesis of the sculpture in an antique Greek myth, to a Belgian Africa museum and deep into Europe`s colonial past. With formal nods to contemporary video artists such as Camille Henrot and
Hito Steyerl, ‘Breaker of Horses’ is an overheated information flow of images, digital productions and archive material. The
visual abundance is coloured by a soundtrack that alternately seethes with synthetic sound effects and detached bits of songs about the statue and its history. The film traces the copper material in the bronze sculpture back to the Congo, where
extraction of copper through forced labour and slavelike conditions for the Congolese comprised one of the economical
foundations for the Belgian King Leopold’s empire. Solidly placed in the era of today, ‘Breaker of Horses’ is a video work that turns to the past.

Nanna Rebekka is an independent filmmaker based in Copenhagen. Her work lies within the realm of hybrid fiction, documentary and video art. She has studied filmmaking at Center for Digital Arts and Experimental Media, University of Washington and at School of the Arts, Media, Performance & Design, York University. She is currently pursuing a masters degree in Visual Culture at University of Copenhagen. She is a former member of Copenhagen LGBTQ Film Festival.
Pernille Lystlund Matzen (b. 1986) is an independent writer and filmmaker currently living in Copenhagen. Her work concentrates on new documentary forms, video art and essayistic modes of filmmaking. She holds a masters degree in Art History and Modern Culture from Columbia University, Universität der Kunste, Berlin, and Copenhagen University. She currently works as an art critic at the Danish newspaper Information.
Together, Nanna and Pernille have directed the short film `Breaker of Horses`.

Julia Kater films the outline of a form on the ground. The process seems endless, where any sense of progression and evolution appears to be absent. Ra Di Martino observes the paradoxes of history and war, and reflects upon military camouflage, a tool for both dissimulation and simulation. False tanks are used in real wars, and real tanks are used for fiction. Maya Schweizer films the Umschlagplatz Wall memorial, in Warsaw, from where hundreds of thousands of Jews were deported during the Second World War. In this film, the memorial cannot be entirely seen, showing the paradoxical relationship of remembrance and forgetting. Nanna Rebekka and Pernille Lystlund Matzen film a bronze statue in Copenhagen, and track the hidden story, from ancient myth to Europe’s colonial past, to Belgian Congo where copper extraction made King Leopold II rich. In her film, Filipa César takes as a starting point the concept of ‘free zones’, a term used to describe the territories of Guinea-Bissau liberated from Portuguese domination, and administered, during the 11 years of the War of Liberation (1963-1974), by African Party for the Independence of Guinea and Cape Verde Guerrilla movement militants.

Barcelona-born, but a longtime New Yorker, Antoni Muntadas figures among a first generation of artists investigating the social and political significance of information and broadcast media. This thirty-year retrospective, first seen at the Pinacoteca do Estado de São Paulo, includes several videos from the pre–fiber optic era, such as Video Is Television?, 1989, which magnifies and distorts images from a host of appropriated sources, including several Hollywood films (Poltergeist, Network). Backed by a plunking score, the nearly indecipherable TV images are overlaid with captions such as CONTEXT and FRAGMENT: blunt reminders of mass media’s partiality and its constitutive power. An even earlier interactive installation, On Subjectivity, 1978, invites visitors to comment on media images divorced from their original context and therefore—a critical “therefore” for the artist—shorn of their original meaning.

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Antoni Muntadas was born in 1942 in Barcelona. After studying architecture and engineering in Barcelona, Muntadas dedicated himself to art, and ever since 1971,he has focused specifically on videoproduction. He settled in the U.S., where he was granted a fellowship, then became a professor at the Center of Advanced Visual Studies (MIT) in Cambridge, Massachusetts. He taught at MIT’s Department of Architecture, as well as the Instituto Universitario de Arquitectura del Veneto in Venice. He lives where he works and works where he lives.
Antoni Muntadas was an early pioneer of video and installation art in the mid-seventies, and he has continued to work with photography, video, installation art, audio recording, and urban art. Over four decades, Muntadas has been developing these projects, which critically reflect on key issues in the configuration of contemporary experience. His aim is to detect and decode the control and power mechanisms through which hegemonic ways of seeing are built, and explore the decisive role played by the mass media in this process. In his works, which always reflect a clear creative processand often make a direct appeal to viewer participation, Muntadas uses an array of media, languages and discursive strategies that encompassinterventions in public space, video and photography, the publication of printed material, the use of Internet and new digital tools, multimedia installations, and the organisation of multidisciplinary, collaborative research projects.
Muntadas has taught and directed seminars at diverse institutions throughout Europe and the United States, including the National School of Fine Arts in Paris, the Fine Arts Schools of Bordeaux and Grenoble, the University of California in San Diego, the San Francisco Art Institute, Cooper Union, the University of São Paulo, and the University of Buenos Aires. He has also served as a resident artist and consulting advisor for various research and education centres including the Visual Studies Workshop in Rochester, the Banff Centre in Alberta, Arteleku in San Sebastian, The National Studio for Contemporary Arts Le Fresnoy, and the University of Western Sydney. His work has been exhibited in numerous museums, including the Museum of Modern Art (MoMA) in New York, the Berkeley Art Museum, the Montreal Contemporary Art Museum, the Reina Sofia Museum in Madrid, the Museum of Modern Art in Buenos Aires, the Museum of Modern Art in Rio de Janeiro, and the Museum of Contemporary Art in Barcelona. His work has been included in international events and venues such the 9th and 10th editions of Documenta Kassel (1977, 1997), the Whitney Biennial of American Art (1991), the 51st Venice Biennial (2005), and others in São Paulo, Lyon, Taipei, Gwangju, and Havana. His solo exhibitions have also appeared at the Württembergischer Kunstverein Stuttgart, the Centro de las Artes in Sevilla and the Centre d’art contemporain in Thiers. He presented an installation at the Inter-Society of Electronic Arts in San José, California in 2006, the Telefónica Foundation Space, the Recoleta Cultural Center, and the Spanish Cultural Center in Buenos Airesin in 2007, and the Cervantes Institute in Paris in 2008. In 2009, he carried out an art intervention at the Mies van der Rohe Pavillion. In Montréal,his work was shown at the SBC Gallery of Contemporary Art and at the Cinemathéque Quebécoise. Supported by the program Lives And Works in Istanbul, he exhibited at the Istanbul Modern Museum in 2010. More recently, there was a Muntadas retrospective at the Reine Sofia Museum, showcasing his"Entre/Between", which ran from 2011 to 2012. In 2013, his work was exhibited inside Pinacoteca Station in Sao Paulo.It has also been shown at Galeria Michella Rizzo in Venice and at Galería Moisés Pérez de Albéniz in Madrid. His exhibit"About Academia", previously installed in 2011 at The Carpenter Center for the Visual Arts at Harvard University, traveled to the Audain Gallery in Vancouver in early 2013.
Muntadas is the recipient ofnumerousprizes and grants from institutionssuch as the Solomon R. Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts, the New York State Council on the Arts, and Arts Electronica in Linz. He received theLaser d’Or prize (considered the "Oscar of Video Art") from the International Association for Video in the Arts and Culture in Locarno, the National Prize of Plastic Arts from the Catalan Government, and the National Prize of Plastic Arts (2005) and the Velázquez Plastic Arts Prize (2009) from the Spanish Ministry of Culture.

Larissa sansour, Søren LIND In The Future, They Ate From the Finest Porcelain

Fiction expérimentale | hdv | couleur | 28:30 | Danemark | 2015

In the Future They Ate From the Finest Porcelain resides in the cross-section between sci-fi, archaeology and politics. Combining live motion and CGI, the film explores the role of myth for history, fact and national identity.
A narrative resistance group makes underground deposits of elaborate porcelain – suggested to belong to an entirely fictional civilization. Their aim is to influence history and support future claims to their vanishing lands.

Larissa Sansour
Larissa Sansour was born in 1973 in East Jerusalem, Palestine, and studied fine arts in London, New York and Copenhagen. Her work is interdisciplinary, immersed in the current political dialogue and utilises video, photography, installation, the book form and the internet. Central to her work is the tug and pull between fiction and reality.
Recent solo exhibitions include Turku Art Museum in Finland, Photographic Center in Copenhagen, Galerie Anne de Villepoix in Paris, Kulturhuset in Stockholm, Lawrie Shabibi in Dubai, Sabrina Amrani in Madrid and DEPO in Istanbul.
Sansour’s work has featured in the biennials of Istanbul, Busan and Liverpool. She has exhibited at venues such as Tate Modern, London; Centre Pompidou, Paris; LOOP, Seoul; Al Hoash, Jerusalem; Queen Sofia Museum, Madrid; Centre for Photography, Sydney; Cornerhouse, Manchester; Townhouse, Cairo; Maraya Arts Centre, Sharjah, UAE; Empty Quarter, Dubai; Galerie Nationale de Jeu de Paume, Paris; Iniva, London; Institut du Monde Arabe, Paris; Third Guangzhou Triennial, Guangzhou , China; Louisiana Museum of Contemporary Art, Denmark; House of World Cultures, Berlin, and MOCA, Hiroshima.
Sansour currently lives and works in London, UK.
Soren Lind
Soren Lind (b. 1970) is a Danish author. He writes children’s books and literary fiction. With a background in philosophy, Lind wrote books on mind, language and understanding before turning to fiction. He has published a novel and two collections of short stories as well as four children’s books. In addition to his literary production, Lind is also a visual artist and writes short film scripts.
Lind lives and works in London, UK.
Sansour/Lind
Larissa Sansour and Soren Lind have worked together on numerous occasions. Lind usually provides the scripts for Sansour’s films, just as he contributed a sci-fi story for Sansour’s 20

Cihad caner Abstract Violence

Vidéo | hdv | couleur | 11:10 | Pays-Bas | 2016

Abstract Violence
The images of war and migration are mainly based on the images that are being circulated in mainstream and social media. Although, these violent and manipulative images form an important element of public opinion concerning the migration flux and war, they are definitely not direct representations of reality. How to represent reality? Can we talk about the reality in the time of image culture?
Abstract Violence investigates the image of current war and migration from its first place, from destroyed Syrian cities and from leftover objects. Caner questions the impossibility of representing violent images and how we interpret them within the time of the image culture. The project uses real footage that were shot by the artist in Syria during the recent war. Caner produces an abstract space with 3D scanned-rendered objects, which were collected from ruined houses to emphasize how these events become virtual and make us insensitive.

Cihad Caner was born in 1990 in Istanbul. Caner holds an MFA on Media Design and Communication. Caner lives and works in Rotterdam and Istanbul.

An aviation field in an unknown suburb. The lake underneath the city burns the streets. The mountains throw rock into the gardens. In the crater of a volcano in Fogo, a model Brazilian city is lifted and dissolves.
Two people find each other in this landscape, 50 years apart.

(b. 1986, Lisbon)
JOANA PIMENTA is a filmmaker from Lisbon, Portugal, currently living and working between the United States and Brazil. Her short film The Figures Carved into the Knife by the Sap of the Banana Trees received the Competition Award at Indielisboa ’14, where it premiered, the Tom Berman Award for Most Promising Filmmaker at the Ann Arbor Film Festival, and has been screened at the Toronto International Film Festival, the New York Film Festival, Jihlava, Mar del Plata, Ambulante, Edinburgh, Videoex, Taipei, among other venues. Her video installation work has been recently presented at the Festival Temps d`Images, the Fundacion Botin, Galeria da Boavista, Carpenter Center for the Visual Arts, and The Pipe Factory, among others. She works and teaches in the Department of Visual and Environmental Studies at Harvard University and in the BFA program in Film at Rutgers University, and is a fellow at the Film Study Center and the Sensory Ethnography Lab.

Guillaume Paris outlines a calm stretch of water from which an enigmatic creature gradually emerges. Taking its title from the Jungian archetype anima, the video features the universal, legendary, mythological and marvellous figure of the mermaid. Blending science fiction, archaeology and politics, Larissa Sansour and Søren Lind explore the roles of myth, history and national identity. A fictional resistance group buries rare china into the ground, aiming to influence history. Cihad Caner films a destroyed village and abandoned objects in Syria that he then reproduced with computer generated images, and reflects on the images of war and migration conveyed by the press and social networks. Hayoun Kwon adapts the testimony of a former soldier in South Korea, therefore providing access to the forbidden zone between the two Koreas. Joana Pimenta films an airfield in the suburb of an unknown city. An underground lake is on fire and burns out the streets, while mountains expel rocks into the gardens. A town disappears as a result of the volcano Fogo. Romain Kronenberg films two men in the desert. They wait for a third man who has gone off to scout. By radio, he describes his path, and the ever-expanding desert expanse before him. The voice eventually subsides. Alone and without news, the young men imagine a paradoxical answer: to believe is as important as the recognition that believing is vain.

A film that shows locations in California that has "played" other parts of the world in early Hollywood films.
By revisiting these old locations, documenting them as they look today and by letting sounds from the old films inhabit them, the films constructs the Californian landscape as a place out of time and place.

John Skoog (born 1985 in Malmö, lives and works in Copenhagen) studied at the Städelschule in Frankfurt. He was awarded the Baloise Art Prize in 2014 and the Ars-Viva prize in 2013. Recent exibitions and screenings include Mad Horizon, Index Contemporary Art Foundation, Stockholm, SE (2016) Värn, Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK, 2015), Slow Return, Museum für Moderne Kunst Frankfurt am Main (2015), Shadowland, Pilar Corrias, London (2015),Berlin International Film Festival (2015) and Federsee, Johan Berggren Gallery, Malmö (2013). Skoog is currently the professor of the film class at the Art Academy in Mainz.

Persijn broersen, Margit Lukács Establishing Eden

Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like `Avatar` (James Cameron, 2009) and the film series `Lord of the Rings` (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s.
Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture.
Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

Julie murray Untitled (Earth)

0 | 0 | couleur | 10:0 | USA | 2015

Untitled (earth)is a digital montage of found film material examined over a lightbox. Hazy figures in smudged pink and gold landscapes are pulled past the video lens unraveling the film image. A cinematic experience is reassembled in stop/start motion falling in and out of sync with the video frame rate. Ruined image detail in rhythmic incantation taps a remembrance of familiar forms in the brightly patterned tropes of cinema.

Born in Ireland and living in the US, Murray draws upon her background in art studies and practice to make moving image works in a range of experimental forms. Her films and videos have screened widely and her work is in a number of library and special collections. She is currently teaching at the University of Iowa.

Christoph girardet, Matthias MÜLLER Personne

Film expérimental | hdv | couleur et n&b | 15:4 | Allemagne | 2016

A broken bottleneck lies on the ground. An analogue telephone with a blank dial plate. The hero of the film, Jean-Louis Trintignant, in younger years – in older years. A man huddled on an elevator floor. Skewered butterflies. He is all alone in the world. The external is sealed off. The internal barricaded. He shifts between times. His focus is always trained on the other. Is he wanted, condemned, persecuted? The man whom we observe from the rear, is only able to see his back in the mirror. His face cannot be recognised. All the actions and movements, all the seeking and striving, all the alterations and associations revolve around the view and excerpt from “La reproduction interdite”, painted by Belgian surrealist René Magritte in 1937. The mirror axis of the film, and yet, and simply for that reason, one becomes the other. The other becomes many.
“personne – that is somebody and nobody and anyone. That is us in the course of time. Persistently, in vain. The self is the need for permanent self-assertion”.

Body Snatcher conflates new 16mm material and found footage from Barbara Loden‘s film Wanda (1970) into an abstract narrative.
Loden‘s film shows a character that seemingly passively navigates the world, but at the same time fights for her own identity and challenges social norms through her refusal to function as expected: „Life is a mistery to her. She doesn’t know what she wants but she knows what she doesn’t want.“
Taking fragments of the film as a starting point, objects, props and surfaces from the film were recreated, visually isolated and filmed anew. In a kind of vacuum, an abstract and associative narration touching on emptiness, failure, and identity construction slowly unfolds.
A sort of parasitic science fiction remake of Wanda emerges - a layer of meaning that lies behind the film‘s plot and surface is imagined and constructed, positioning disparate elements in relation to each other and forging connections between them.

Benjamin Ramírez Pérez lives and works in Amsterdam. He studied at the Academy of Media Arts Cologne from 2009 - 2015. He was awarded the German Film Critics` Prize for Best Experimental Short in 2013. In 2015, he received the Chargesheimer Scholarship for Media Arts of the City of Cologne. Currently, he is a participant at De Ateliers in Amsterdam (2016 – 2018).

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The images in the form of a diptych by M+M reinterpret film scenes, with a scene re-enacted faithfully on the one hand, and on the other hand the same scene rewritten or modified. In California John Skoog films places where iconic Hollywood films were shot, used to represent the most diverse places around the world. Persijn Broersen and Margit Lukács reconstruct the scenery of New Zealand used as backdrops for films like Avatar and Lord of the Rings. Nature has been forfeited to depict a fresh fictional Eden. Julie Murray confronts digital video images with traditional film. Hazy outlines and mottled landscapes appear. Around the actor Jean-Louis Trintignant, Christoph Girardet and Matthias Müller question someone, no-one, anyone. Us in the course of time. Benjamin Ramírez Pérez develops an abstract narrative from the film ‘Wanda’ by Barbara Loden. He takes original elements from it such as surfaces, objects and furniture, isolating them in a parallel narrative, and examining the construction of identity.